Listen Again: A New History Of Music by David WulstanListen Again: A New History Of Music by David Wulstan

Listen Again: A New History Of Music

byDavid Wulstan

Hardcover | October 29, 2015

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How do you tell the key of a piece-without looking at a score? How do you know when a musical work ended before an audience applauds or a radio announcer returns on air? Was there, in fact, a 'breakdown of tonality' in the nineteenth and twentieth centuries? These questions and others are the focus of David Wulstan's Listen Again: A New History of Music. He also shows where the nuove musiche of the early Baroque era came from and what the two critical but unlinked chords in the middle of Bach's Brandenburg Concerto No. III signify.Previous literature in music does not properly address these questions and innumerable others. In Listen Again, Wulstan illustrates how music from Bach to Bartók was far less "revolutionary" than customarily imagined and that the "inversionist" doctrine of Rameau and kindred acoustical misconceptions, courtesy of Heinrich Schenker and other analysts, solve fewer problems than their purveyor claim. In Listen Again, Wulstan takes to task early theorists, who were mostly clerics who ignored non-ecclesiastical music, and their modern equivalents, who consider only the blinding white of the written or printed score, whilst ignoring music as heard and interpreted by the ear and brain. Instead, Wulstan enquires into the musical activities of the common folk to addressing key issues that early and modern theorists have regularly overlooked. The book will appeal anyone who has dismissed "harmony," "theory" and the like as alien, in effect, to practical music. Readers will find in Listen Again that the true history of music has far more practical relevance for performers than the aridity of music theory coursework, demonstrating by example how this work a book about music, not, as in the case of so much theoretical work, a "book about books."
David Wulstan is presently Honorary Fellowship at St Peter's College, Oxford. Before then he served as Gregynog Professor of Music at University College of Wales. He is the author of various books and articles on medieval music and church history. He is widely known as the founder and director of The Clerkes of Oxenford, whose pioneeri...
Listen Again: A New History of Music
Listen Again: A New History of Music

by David Wulstan

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Title:Listen Again: A New History Of MusicFormat:HardcoverDimensions:480 pages, 10.32 × 7.25 × 1.31 inPublished:October 29, 2015Publisher:Rowman & Littlefield PublishersLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:144223749X

ISBN - 13:9781442237490

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Table of Contents

ForewordAcknowledgmentsIntroductionPermissionsChapter 1: Some Matters of Terminology and Other PreliminariesChapter 2: The Recognition of KeyChapter 3: Tonal Balance and Minor Tonality: The Use of Sequences; dissonanceChapter 4: The Rule of the Octave: Harmony and RhythmChapter 5: The Enhanced Tonic: Fugal Technique and TonalityChapter 6: Complex KeyChapter 7: The Classical Style, Part IChapter 8: The Classical Style, Part IIChapter 9: Classical to Romantic: Beethoven and SchubertChapter 10: The Romantic Era, Part I: Chopin, Brahms and MendelssohnChapter 11: The Romantic Era, Part II: The Age of WagnerChapter 12: The Perception of MusicChapter 13: The Twentieth Century, Part I: The Palette of Debussy Chapter 14: The Twentieth Century, Part II: Themes and Theories in the Music of Stravinsky and Some Other Composers Chapter 15:The Twentieth Century, Part III: Techniques and Treatises - Bartók, Hindemith, and OthersChapter 16: Saturday Night and Sunday Morning Chapter 17: Two Cultures Chapter 18: Mediæval to RenaissanceChapter 19: Renaissance to BaroqueChapter 20: Back to the Future

Editorial Reviews

In his previous books, Wulstan focused on early music, but more recently, he has contributed to his oeuvre by demonstrating his knowledge of musical theory from the Middle Ages to the present.  As he admits, Listen Again is not a 'bedtime book'; it is a volume for those interested in pondering well-crafted analysis of music and its historical value.  The author writes that he has sought to 'cover most of the ground in regard to European music from the earliest times of which we have any real knowledge and to determine the mechanisms of tonality from a historical point of view.'  The book provides a number of opportunities to consider senescent ideas, such as modal versus tonal music, in a new light.  Immediately following the introduction is a useful glossary of technical terminology the author uses-e.g., superdominant as opposed to submediant. . . .Listen Again is likely to inspire some interesting discussions among students with a foundation in music history and theory. Summing Up: Recommended. Upper-division undergraduates through faculty.